Completed: Film Analysis Midterm

What is Film?

Product

Economic Engine

Art

Entertainment

Cultural Landscape

Digitalization

Why do we Study Film?

The cinema is for us the most important of the arts

What Makes Films Special & How Do They Influence Us?

Politics

Cultural References

Representation

Film Production/Form

Scriptwriting & Funding

Preparation

Shooting

Film Production/Form - Preparation

Storyboarding:

Location Scouting

Production/Costume Design

Film Production/Form - Shooting

Cast

Directors Crew

Photography

Sound Unit

Film Form: Expectations

Traditional

Structure

Overall Pattern/Fitting Parts

Simple, 1-shot

Referential Meaning

Relating to a referent, in particular having the external world rather than a text or language as a referent

Explicit Meaning

everything that a movie presents on its surface

Implicit Meaning

Meaning the viewer has to interpret themselves

Symbolic/Ideological Meaning

The filmmaker's set of beliefs

Plot

Piece of A Story

Story

Entire journey, even what we don't see on screen/have to interpret individually

Mise-en-scene

"Putting Into The Scene"

What appears in the film frame

Setting

Existing Location vs. Studio

Color

Props

Genre

Mood/Story

Costumes & Makeup

Context

Historical Aspect

Genre

Socio-economic Status

Lighting: Direction

Frontal

Back

Under

Top

Lighting: Low Key

Less light, more shadows

Strong Contrast between Shadows vs. Light

Highlights Certain Focal Point

Lighting: High Key

More light, less shadows

High-Exposure

Even Lighting

Visibility

3-Point Lighting - Back/Hair Light

Lights actor/object from behind

Placed higher than object its lighting

Separates actor/object from background

Kicker: When placed at an angle

3-Point Lighting - Fill Light

Cancels out Key Light shadows & doesn't make its own shadows

Less powerful

Placed Opposite Key Light

3-Point Lighting - Key Light

Primary light source of a scene

Most intense & direct light source

Movement & Performance

Actors Performance

Genre & Narrative

Realism

Focus

Cinematography - Tonality

Exposure: How much light passes through a camera lens

Under or Over-Exposed Images

Filters

Cinematography - Motion Speed

Rate film was shot = Rate of Projection

Frames per Second (FPS)

Standard: 24 FPS

Rate of Shooting = Rate of Projection

Fewer FPS = Fast Motion

More FPS = Slow Motion

Cinematography - Long-Focal Lens

100 mm

Telephoto

Flattens Space

Planes are "squashed together"

Telescope/Binoculars

Cinematography - Normal Lens

50 mm

Resembles what people see with their own eyes

No perspective distortion& no stretching or squashing

Cinematography - Short-Focal Lens

35 mm

Wide-Angle/Wide field view

Distorts image, especially near the edges (bulging)

Exaggerates Depth

Cinematography - Camera Positions: Angles

Straight

High

Low

Cinematography - Camera Positions: Level

Parallel to Horizon

Canted: Tipped Framing (Dutch Angle)

Cinematography - Camera Positions: Height

Eye-Level

Ground Level

Cinematography - Camera Positions: POV Shots

a shot taken with the camera placed approximately where the character's eyes would be, representing what the character sees

Cinematography - Camera Distances (9)

Extreme Long

Long Shot

Medium-Long Shot

Medium Shot

Medium Full-Shot

Full Shot

Medium Close-Up

Close-Up

Extreme Close-Up

Cinematography - Camera Movements

Pan(orama)

Tracking/Movement Shot (Crane)

Tilt

Hand-Held Camera

Editing

Timing

Impact

Shot Arrangement

Shot Choosing

Cuts: Changing from 1 shot to another

Transitions

How Many Shots (average: 1000-2000)

Editing - Graphic Relations

Continuity or Contrast

Graphic Matching

Editing: Spatial Relations

Constructing film space

Spatial Manipulation

Editing: Rhythmic Relations

Pacing

Shot Amount

Editing: Temporal Relations

Chronological Order

Condenses or Expands

Duration

Editing: Kuleshov Effect

Different ideas of a scene's contextual meaning when a shot/reverse shot shows something specific

Continuity Editing

Hollywood standard

Narrative continuity

"Invisible editing"

Similar Graphic/Tonality/Lighting

Continuity Editing: Establishing Shot

Organization of scene

Continuity Editing: Shot/Reverse Shot

Shot 1: someone looking at something

Shot 2: sees what person is seeing

Continuity Editing: Eyeline Match

A continuity editing technique that preserves spatial continuity by using a character's line of vision as motivation for a cut

Continuity Editing: 180 Degree Axis

To avoid unwanted change in the subjects direction always keep the cameras on the same side of the axis of action

Continuity Editing: Re-establishing Shot

Re-organizing of scene when something new is introduced into it

Continuity Editing: Match on Action

A continuity cut that splices two different views of the same action together at the same moment in the movement, making it seem to continue uninterrupted.

Continuity Editing: Crosscutting

Shows 2 events happening at the same time

Continuity Editing: Montage Sequence

Summarization of timeline in a film

Continuity Editing: Alternatives - Jump Cuts

Same subject with a slightly different shot (angle/composition)

Noticeable "jump" on screen

Makes film more visibly edited

Usually, Amateurish Mistakes

Continuity Editing: Alternatives - Soviet Montage

Implicit Meanings

Impact/Emotional Response

Expanding Duration

Political Dimension

Cinematography

"Writing in Movement"

Sound

Mood

Emotional Response

Guiding Audience

Expectations

Power of Sound

Sound-image relations

Sound in Film

Recording - During & Post Process: Speech (dialogue)

Postproduction: Music & Sound Effects (noise)

Sound Effects & Music - Sound Blending

Blending other sounds together to create a new, unique sound

Sound Effects & Music - Sound Mixing

mixing together sound effects, dialogue, foley, etc in order to create a believable soundscape (hierarchy of sounds)

Sound Effects & Music - Foley Artist

person responsible for creating sound effect

Film Sound Dimensions - Rhythm

direct correspondence between music/sound and image

Film Sound Dimensions - Fidelity

Correlation between sound & what you see on screen

Film Sound Dimensions - Spatial

The closer the camera is to the source of a noise the louder the sound is

Sound - Creative Decisions

On or Off-Screen Sounds

Subjectivity

Sound - Creative Decisions: Sound Perspective

Guiding the audience through volume, distance, & dialogue

Sound - Creative Decisions: Contrast

Sound of Silence

Sound - Diegetic

Characters in film can hear a sound (external)

Sound - Non-Diegetic

Characters in fim cannot hear a sound (internal)